C.P.E. Bach: Concerto for Cello and Orchestra in B flat major Wq 171 (arr. for viola by Mathis Rochat)
Johann Gottlieb Graun:
- Concertante for Violin, Viola and Orchestra in C minor
- Concerto for Viola, Strings and basso continuo in E flat major

Despite the fact that CPE Bach is the prominent name on the CD cover as well as being the better known of these two composers, the main focus of this review will be on the works of Johann Gottlieb Graun (1703-1771) for three reasons. 1} Two works by Graun as opposed to a single work by Bach, which account for the bulk of this recording. 2} The Concerto by Bach was arranged for the Viola but originally written for the Cello. 3} In my opinion, Graun is obviously the better composer of the two (how many times throughout history have we noticed that being the progeny of a distinguished father doesn't mean squat). His music has a fresh, innovative character whereas Bach's score seems rather formulaic.

German violinist and composer Johann Gottlieb Graun, not to be confused with his older brother August Friedrich or his younger brother Carl Heinrich who were composers as well, lived during the transition period from Baroque to Classical, and composed over 400 works, including symphonies, overtures, concertos, and chamber music. During the 18th century there was an upsurge in cultural and musical activity. The booklet notes point out: "The musical life of Berlin middle-class society subsequently evolved to become the focus of its musical activity. Anyone could go to the concerts simply by acquiring a ticket." Composers and musicians of the day, encouraged by these captive audience members, flourished during that time.

Violist Mathis Rochat states that "the Concerto by Johann Gottlieb Graun was an utter revelation". Once you hear it I'm sure you will concur. Its stately and yet sprightly opening Allegro movement combines the verve of Couperin or Vivaldi with the cohesive structure of Haydn. Parts are delegated evenly between the soloist and ensemble, and even when the viola lines soar well above the rest, you can still discern ingenious activity within the strings and harpsichord. Mathis Rochat's playing certainly seems to carom and ricochet off this solid support, as he overcomes technical hurdles with ease. There is even a somberly expressive side to his playing as he and violinist Stephen Waarts give and take phrases within the beautiful Adagio con Sordini movement of the Concertante for Violin and Viola.

The recorded sound is superb. When listening through headphones in particular, it sounds as if the strings of the orchestra are left and right, the harpsichord in the middle of my head, and the viola above. Recordings of this music are few and far between, so if you are looking for something off the beaten path to listen to, I wouldn't hesitate recommending this new CD.